Summer has officially arrived at the DMA! Today we began our Summer Art Camps and launched our free summer activities. Throughout June and July, we’re offering new opportunities for fun in the Museum every day of the week, on top of our year-round free general admission. Families can catch a tall tale in the DMA galleries on Tuesdays or join a family tour every Thursday. And visitors can learn more about the DMA’s collection and exhibitions during lunchtime gallery talks every Wednesday. There are many ways to experience the DMA for free, including our upcoming Late Night on Friday, June 20, and the Dallas Arts District block party! Find out about all of this and more summer fun at DMA.org.
Posts Tagged 'Dallas Museum of Art'
Tags: Dallas Museum of Art, DMA, Free, Free family activities, Summer activities
Tags: Dallas Museum of Art, DMA, Georgia O’Keeffe, Hypnotic Donuts, National Doughnut Day
Friday is the most magical day of the year, well at least to some of the DMA staff and those in the doughnut business. Friday, June 6, is National Doughnut Day, and the DMA and Hypnotic Donuts teamed up to celebrate this tasty holiday in an artistic way. James and Amy, the owners of the North Texas doughnut store, took inspiration from the DMA’s collection and created an O’Keeffe-inspired masterpiece in frosting. We had a chance to visit with them after a gallery walk-through to spur their creative and culinary juices.
What is it about the DMA’s Georgia O’Keeffe Grey Blue & Black – Pink Circle that made you think it would make a great doughnut?
First, the shape was perfect; it had multiple circular dimensions. Next, we love the painting itself. It is very iconic and memorable.
Tell us what ingredients went into making the O’Keeffe doughnut?
We started with a base cake doughnut and then made a frosting and divided it into multiple colors and flavors. The doughnut was designed by Trevor Powers of Hypnotic Donuts. The blue is a blueberry, the pink is a light strawberry, and the green and white are both neutral.
Where there any other works in the collection that screamed “perfect doughnut” to you?
There are a lot of amazing pieces at the DMA. One thing we realized is there is a reason the works are at the DMA. These are true masterpieces and we found they are hard to duplicate, especially in doughnut form! But to answer the question, we also really liked The Icebergs and the warrior headdresses.
How long have you been making doughnut creations?
We started making doughnuts in 2010.
What are you most excited about for National Doughnut Day this Friday?
The people that jump on board and celebrate with us. Our life is doughnuts and it is cool to have a day that celebrates something we work with for a living. We love our community, city, and, of course, doughnuts, so we have some very special things in place to bring it all together.
How can people get a peek at the Hypnotic Doughnut “DMA masterpiece”?
Like all fine works of art, they truly take time. We originally had this great plan to sell the doughnut at our store and even at the DMA; however, after the time it took to make, the fact that June 6 is already going to be a busy day, and since we will not make any doughnuts the day before, the DMA doughnut will be just like at a museum: “on display only.” We will proudly display the O’Keeffe in our glass doughnut display case for all to see. At the end of the day, we will think of something special to do with it.
Head to Hypnotic Donuts this Friday in East Dallas to see the O’Keeffe doughnut, and stop by the DMA to see the painting that inspired the sweet masterpiece.
Image: Georgia O'Keeffe, Grey Blue & Black—Pink Circle, 1929, oil on canvas, Dallas Museum of Art, gift of The Georgia O'Keeffe Foundation © The Georgia O'Keeffe Foundation / Artists Rights Society (ARS), New York
Kimberly Daniell is the Manager of Communications and Public Affairs at the DMA.
Tags: Association of Art Museum Directors, Cox School of Business, Dallas Museum of Art, DMA, France, John Rossant, Kedge School of Business in Marseille, Meadows School of the Arts, National Center for Arts Research, New Cities Foundation, Southern Methodist University, Zannie Voss
Tags: Art, Center for Creative Connections, Dallas Museum of Art, DMA, Nur: Light in Art and Science from the Islamic World, Tuba Tree
How many words can you think of that describe light? Your list can include characteristics, opposite words, and metaphors for the concept of light.
The exhibition Nur: Light in Art and Science from the Islamic World explores the concept of light and the many ways it is captured, studied, and featured in works of art and scientific objects from Islamic culture (nur is the Arabic word for “light”). A work of art from the exhibition titled A Panel Depicting the Tuba Tree, with the 99 Names of God on Its Leaves is currently on view in the Center for Creative Connections (C3). This painting illustrates the concept that there can be many meanings associated with a single idea. Similarly, visitors are invited to add their ideas to a growing collection of light-related words in the accompanying community installation.
Leave your ideas on what light is through the run of the exhibition, which closes on June 29.
Melissa Nelson Gonzales is the C3 Gallery Manager at the DMA.
Tags: Booker T. Washington High School for the Performing and Visual Arts, Dallas Museum of Art, DMA, Learning Lab, Never Enough: Recent Acquisitions of Contemporary art
As part of our partnership with our neighbor Booker T. Washington High School for the Performing and Visual Arts, DMA educators co-teach Learning Lab, a class for seniors in the visual arts cluster. This group of bright and talented young artists walks down Flora Street to the Museum about fifty times during the academic year. Besides spending quality time with, discussing, and responding to works of art in the DMA’s collection and special exhibitions, this year the students also had the opportunity to meet artists Jim Hodges and Stephen Lapthisophon and ask them questions about their DMA exhibitions.
For their final project, pairs of students capped off a great year of projects and discussions by creating smartphone stops for a work of art of their choosing in the exhibition Never Enough: Recent Acquisitions of Contemporary Art. They were given the option of producing a three-minute audio recording or video for their chosen work. They were asked to design their audio or video clip to either facilitate a visitor’s understanding through contextual information about the artist and his/her work, or to provide visitors with an alternative perspective or interpretation through which to view the work. They were also encouraged to exercise their creativity.
All of the pairs’ submissions were fantastic. Below are two smartphone stops created by the students:
This smartphone stop is a video inspired by Will Benedict’s 1 800 Bad Drug.
This smartphone stop is an audio clip related to Sara Cwynar’s Corinthian Temple (Plastic Cups).
Thanks to the BTWHSPVA Learning Lab students for a wonderful year and congratulations on graduation!
Andrea Severin Goins is the Interpretation Manager at the DMA.
Tags: Bill Owen, Dallas Museum of Art, DMA, Memorial day
Happy Memorial Day from the DMA! We hope your day is full of barbequed chicken, corn on the cob, potato salad, green salad, macaroni salad, and watermelon like this Bill Owen photograph in the DMA’s collection.
Tags: African headdress, art and science, art conservation, behind-the-scenes, conservation, conservator, Dallas Museum of Art, DMA, museum jobs, profile, SCOBY, Staff
Uncrated recently caught up with the DMA’s associate conservator, Fran Baas, who joined the Museum in November. This summer, you can find her working on the 1908 Viennese Wittgenstein silver cabinet, pictured below.
Describe your job in fifty words or less.
My title is Associate Conservator, and I oversee the activities involved in the long-term preservation of the DMA’s permanent collection of objects and textiles. This comprehensive approach includes treatment, research, and analysis, and the preventive care of the collection.
What might an average day entail?
Each day is very different and has me running around all over the Museum. I might be assessing objects as potential loan candidates, responding to e-mails, writing reports, and doing actual benchwork.
For example, recently, over the course of two days, I treated three plaster “pears,” dehydrated a SCOBY (a colony of bacteria/yeast that is part of a contemporary piece), conditioned silica gel, cleaned a few inches of an intricate early 20th-century Viennese silver piece, discussed with curators and collections staff the “inherent vice” of an extremely fragile piece, helped identify materials in an African headdress, and assisted in the treatment of some large oversized paintings. My job keeps me hopping across decades, centuries, and millennia . . . not to mention across the world geographically!
How would you describe the best part of your job and its biggest challenges?
I absolutely love my job. It’s a huge responsibility, but a privilege that I do not take lightly. The biggest challenge is never having enough time!
Growing up, what type of career did you envision yourself in? Did you think you’d work in an art museum?
For a long time, I struggled with where I fit. I am very “left-brained, right-brained,” as they say. Not only do I love working with my hands and looking at art, but I love science and the process of discovery. It took me awhile to find a profession that combines art and science. Conservation is a field where I get to do my favorite things in an effort to preserve art and artifacts for future generations to appreciate. I have the best job in the world.
Do you have a favorite work in the DMA’s collection yet?
As cliché as this sounds, I fall in love with whatever piece I am currently working on. Getting to work with a piece up close, in conjunction with the material analysis and background historical research, allows me to really “get to know” a piece . . . and as a result fall in love.
What are you looking forward to in your future here at the DMA?
I look forward to getting to know each and every object and textile in the DMA’s encyclopedic collection!
Tags: Atsuko Tanaka, Contemporary Art, Dallas Museum of Art, DMA, Gavin Delahunty, Jackson Pollock, John Chamberlain
This weekend, explore works from the Museum’s modern and contemporary collection in a new installation by the DMA’s new Hoffman Family Senior Curator of Contemporary Art, Gavin Delahunty. The Museum Is History: Modern and Contemporary Art from 1950-1990 installation, featuring work by Jackson Pollock, Atsuko Tanaka, John Chamberlain, and more, will be on view through November and it is included in the DMA’s free general admission.
Tags: Constellations, Dallas Museum of Art, DMA, Late Night, University of Texas at Dallas
Before there were Xboxes and smartphones, TVs and radios, and even theater and literature, people sought entertainment in other ways. Among those activities was the experience of star gazing. The endeavor was a social one, often involving conversation and the creation of folklore around oddly shaped objects that observers conjured up in the stars above.
Though the same stars hang above us today, those interpretive experiences are few and far between. But a group of graduate students from the University of Texas at Dallas are working to change that. Their interactive activity, the Constellation Game, brings back the experience of campfire conversation and celestial storytelling. Visitors, or “players” of the game, are encouraged to let their imaginations run wild as they use a motion controller to “draw” their own constellations in a projected night sky. They can even invent their own myths around their creations.
This Friday, we’re excited to have the Constellation Game set up on our Ross Avenue Plaza for our monthly Late Night. In preparation for Friday night’s activities, we took the opportunity to ask Spencer Evans, the lead programmer behind the experience, a few questions about the Constellation Game.
How did you come up with the idea for the Constellation Game?
SE: In many ways, the idea we initially came up with is actually far off from what we have now. It was a very vague idea that evolved organically, and was refined based on players’ impressions and our realized goals. We are big fans of games that fit in the play space between arcade, art gallery, and museum exhibition pieces, and we wanted to create something in that same space. We are also very passionate about storytelling and mythology, and we wanted to revive that act of storytelling around shapes perceived in the stars, which seems a bit lost and forgotten today. To that end, it was also important to us to create an accessible interface and interaction that people today can understand.
How does the experience work?
SE: The core player experience is to create and draw constellations in an almost connect-the-dots like way in a shared space. Players do this with a motion controller while lying down, looking up at the stars of our night sky projected onto the ceiling, and discussing with others the meaning of the shapes created. Our design was focused on storytelling, social interaction, and creative expression. And, we strove to create an experience that closely resembles the relatable, perhaps nostalgic, real-world act of lying down outside and pointing up at the stars. We feel this is something that comes through in the way players interact with it, and the immersive atmosphere we try to create.
What have you learned by watching visitors interact with the installation?
SE: We have learned that it is very much a group experience, not just the one or two players currently interacting with it. It is the audience participating as well. Everyone tends to explain or argue about the shapes they are seeing, and share their personal interpretations that they, and others, have made. We have learned that players tend to enjoy exploring the star-field—the space in which they can draw constellations—before they create their own. They want to see what others have created first, and see which star clusters or historical constellations they recognize.
If you want to make your own constellations, you can play the Constellation Game between 8:00 and 11:00 p.m. this Friday. We’ll also have numerous other activities, performances, tours, lectures, and more! Find the full schedule here.
Betsy Glickman is Manager of Adult Programming at the DMA.
Tags: Dallas Museum of Art, DMA, Käthe Kollwitz, Works on Paper, World War I
A new installation in the European Works on Paper Gallery contemplates the life and work of the German artist Käthe Kollwitz (1867-1945). For Germans born in the latter half of the 19th century, life was in a constant state of chaos. Immigration to America was at an all-time high, and World War I would soon be on their doorstep only to be followed by the destruction of World War II. For Kollwitz, the impact of these grave events became the inspiration for her artwork.
As a graphic artist and sculptor, Kollwitz was widely popular in Europe and America throughout her long life. Kollwitz had always been drawn to representing the working classes. But it was with a cycle of six prints documenting the Weaver’s Revolt of 1844 that she achieved instant fame. The DMA owns the last two prints in the series, Revolt and End.
Together these works document the uprising of peasant workers and the resulting death and destruction. This series was so popular that Kollwitz was awarded a gold medal at the Great Berlin Exhibition of 1898, but the Prussian emperor Wilhelm II refused to award it to her, fearing her striking images would spark rebellions among the working classes. Nevertheless, it was this subject matter that would carry throughout her life’s work. She became dedicated to advocating for the lower classes and the downtrodden in society.
After the war, Kollwitz created many lithographs of women and children, such as Bread! and Hungry Children. These images were widely popular and circulated throughout the country. Kollwitz intended to draw attention to the starving working class and the impact of World War I on the nation.
These two works were reprinted nearly a decade later. During World War II, Bread! was published in the National Socialist women’s magazine, Warte, as pro-Nazi propaganda, with the forged signature of St. Frank. Kollwitz was outraged, as she was a staunch opponent of Nazism and another world war. The United States appropriated Hungry Children as a propaganda poster to encourage rationing for the war effort.
The works are currently on view in the Museum’s European Works on Paper Gallery on Level 2 and are included in the DMA’s free general admission.
Michael Hartman is the McDermott Intern for European Art at the DMA.